Money, of course, is never just money. It's always something else, and it's always something more, and it always has the last word.

The best filmmakers, I think, have always had very narrow frameworks for their stories, and then they can go deeply, rather than skimming the surface.

In my books, there are a lot of people stuck in rooms. Or, conversely, out in the wide open. It seems that, in a funny way, when people are cooped up in rooms they are freer than when they are wandering about in the world.

What matters is not how well you can avoid trouble, but how you cope with trouble when it comes.

In the end, the art of hunger can be described as an existential art. It is a way of looking death in the face, and by death I mean death as we live it today: without God, without hope of salvation. Death as the abrupt and absurd end of life

Then, without any warning, we both straightened up, turned towards each other, and began to kiss. After that, it is difficult for me to speak of what happened. Such things have little to do with words, so little, in fact, that it seems almost pointless to try to express them. If anything, I would say that we were falling into each other, that we were falling so fast and so far that nothing could catch us.

I project myself so deeply into the characters in novels that I'm not thinking about my own life.